In El text escénico de las Ranas de Aristófanes Chuaqui pretty much accomplishes the same for Aristophanes' Frogs as she did for Euripides' Bacchae. Since in this instance we are dealing with a comedy, she gives the reader a translation and contextual setting for the play that will afford 'not only a way of reading the Frogs as a dramatic text, but also of imagining and visualizing it as a libretto for a musical comedy' (p. 10). Kowzan's modified model is also used extensively in this book and the work of Mikhailovich Bakhtin is quoted and referred to in order to vary somewhat the semiotic approach taken in her first book.[[5]] The text comprises a prologue, three chapters, an epilogue, a translation of the play and a bibliography. In the first chapter, 'Las Ranas y el medio ambiente' (pp. 15-73), the author centers on the religious and literary components of comedy: Aristotle and the possible origins of comedy, Doric influence, the information supplied on choral dress by vase paintings (in particular choruses dressed as animals), the differences and similarities between CW=MOJ and W)|DH/ and the likelihood that comedy may have been a type of religious mimesis. Among many other things in a chapter overflowing with detail, there is also an analysis of the traditional structure of comedy (parodos, agon, parabasis, exodos), the variations that Aristophanes makes on this format (i.e. the parabasis before the agon), the life of Aristophanes (what little we know) and a critique of editions and translations of the Frogs. Chuaqui's digression on the troubles with translating a text full of obscenities is worthwhile and is probably the most original part of this chapter, which ends with the author placing the production of the play in historical, political and religious contexts. Chapter Two, 'La risa dionisíaca' (pp. 75-128), is a mélange of different topics ranging from the relationship between comedy and tragedy to paratragedy and paracomedy. The main two subjects, however, are generated from Bakhtin's observations on the carnival and its atmosphere as correlative to Greek comedy and the celebrations held at the dramatic festivals, and F. M. Cornford's ritual-structural approach to the development of Attic comedy.[[6]] The chapter winds up with Chuaqui grappling with the definitions of comedy and humor, which may or may not contain obscenity, sex, double entendres, verbal dexterity and grandiose words and thoughts. Chapter Three, 'Dramaturgia de las Ranas' (pp. 129-71), seeks to answer the question of how to stage a comedy. Depending greatly on the Oliver Taplin's research on tragedy and comedy,[[7]] Chuaqui produces a translation (pp. 187-278) that is meant to be a 'virtual' production -- a text that allows for staging; not that the play would or could be produced (p. 130). Once again employing Kowzan's modified model she analyzes the comedy and departs into a brief but interesting discussion on the sites that these comedies may have been staged.[[8]] The rest of the chapter speculates on the structure of the comedy, the architecture of the theatre, the actors and their numbers and entrances onto the stage and music.(...) Chuaqui has done an admirable and laudable job.' (EDMUND P. CUEVA in Scholia, 2000, no.50). From the library of Professor Carl Deroux.